Where I'm Coming From:
Art is not only a thing;it’s also a way. Each artist has their own way and my way is informed by mybiography. This biography, in turn, is informed by a set of histories. Thesehistories are the narrative of everything that came before me, and as such,have manifested in my identity as a border-dwelling, queer, Chicano man.
As a consequence ofconquest and dominion, these histories are often incomplete or fragmented. Thewords and images that make up my personal narrative have been affected by aprocess of historical revision, omission, and embellishment; a process thatresults in concealment, obscurity, and incomplete revelations.
I work with words andimages, important elements of narrative-making, and push them through my ownprocess of revision, omission, and embellishment. This process reveals the abstractnature of words and images, elements that are often revered as sacrosanct when sharedand consumed through narratives that resist change; narratives that driveour identity formation, and by proxy, our understanding of this world. Myprimary materials of choice are paper and pixels; each allude to archives inphysical and virtual forms.
While this process yieldsa glyph-like object, these petite spectacles function more like secrets thatdon’t want to be deciphered. They aim, instead, to redirect; to obscure the originof its parts; to claim completeness in its incompleteness.
Bernardo Diaz is an artist, educator, and administrator who resides in Austin TX. Diaz received his MFA from the Meadows School of the Arts at Southern Methodist University. A first generation Mexican-American, Diaz was born in Rochelle, Illinois and spent his formative years in Eagle Pass, a southwest Texas town on the border with Mexico. Diaz’s work explores notions of identity and currently works around three formal conceptual frameworks: embellishment, omission, and revision. Diaz is not committed to a specific medium and his work manifests in the form of paintings, drawings, collages, text, socially-engaged projects, and grassroots organizing. Diaz has also worked alongside various art organizations including the Public Art Selection Committee for the City of Dallas, Art Love Magic, Big Thought, and is a critic for Peripheral Vision Arts, an online art journal focused on emerging artists. In 2013, Diaz was included in the Dallas Pavillion, a toungue-in-cheek exhibition in print that debuted at the 55th Annual Venice Bienneal. In 2014, an essay and selection of Diaz's work was published in Aztlan: A Journal of Chicano Studies at UCLA's Chicano Studies Research Center. He currently serves as assistant professor of art and assistant department chair at Austin Community College. Diaz loves his two pet dogs, who he promised to mention in his bio; their names are Trixie and Loki.